A Companion to Modern British and Irish Drama 1880-2005 by Mary Luckhurst PDF

By Mary Luckhurst

ISBN-10: 0470751487

ISBN-13: 9780470751480

ISBN-10: 1405122285

ISBN-13: 9781405122283

This wide-ranging Companion to fashionable British and Irish Drama deals demanding analyses of more than a few performs of their political contexts. It explores the cultural, social, fiscal and institutional agendas that readers have to interact with that allows you to get pleasure from sleek theatre in all its complexity.

  • An authoritative advisor to trendy British and Irish drama.
  • Engages with theoretical discourses hard a canon that has privileged London in addition to white English men and realism.
  • Topics lined comprise: nationwide, local and fringe theatres; post-colonial levels and multiculturalism; feminist and queer theatres; intercourse and consumerism; know-how and globalisation; representations of battle, terrorism, and trauma.

Chapter 1 family and Imperial Politics in Britain and eire: The Testimony of Irish Theatre (pages 7–21): Victor Merriman
Chapter 2 Reinventing England (pages 22–34): Declan Kiberd
Chapter three Ibsen within the English Theatre within the Fin De Siecle (pages 35–47): Katherine Newey
Chapter four New girl Drama (pages 48–60): Sally Ledger
Chapter five Shaw one of the Artists (pages 63–74): Jan McDonald
Chapter 6 Granville Barker and the courtroom Dramatists (pages 75–86): Cary M. Mazer
Chapter 7 Gregory, Yeats and Ireland'S Abbey Theatre (pages 87–98): Mary Trotter
Chapter eight Suffrage Theatre: group Activism and Political dedication (pages 99–109): Susan Carlson
Chapter nine Unlocking Synge this day (pages 110–124): Christopher Murray
Chapter 10 Sean O'Casey's robust Fireworks (pages 125–137): Jean Chothia
Chapter eleven Auden and Eliot: Theatres of the Thirties (pages 138–150): Robin Grove
Chapter 12 Empire and sophistication within the Theatre of John Arden and Margaretta D'Arcy (pages 153–163): Mary Brewer
Chapter thirteen while was once the Golden Age? Narratives of Loss and Decline: John Osborne, Arnold Wesker and Rodney Ackland (pages 164–174): Stephen Lacey
Chapter 14 A advertisement good fortune: girls Playwrights within the Nineteen Fifties (pages 175–187): Susan Bennett
Chapter 15 domestic innovations from out of the country: Mustapha Matura (pages 188–197): D. Keith Peacock
Chapter sixteen The is still of the British Empire: the performs of Winsome Pinnock (pages 198–209): Gabriele Griffin
Chapter 17 Wilde's Comedies (pages 213–224): Richard Allen Cave
Chapter 18 regularly appearing: Noel Coward and the acting Self (pages 225–236): Frances Gray
Chapter 19 Beckett'S Divine Comedy (pages 237–246): Katharine Worth
Chapter 20 shape and Ethics within the Comedies of Brendan Behan (pages 247–257): John Brannigan
Chapter 21 Joe Orton: Anger, Artifice and Absurdity (pages 258–268): David Higgins
Chapter 22 Alan Ayckbourn: Experiments in Comedy (pages 269–278): Alexander Leggatt
Chapter 23 'They either upload as much as Me': the common sense of Tom Stoppard'S Dialogic Comedy (pages 279–288): Paul Delaney
Chapter 24 Stewart Parker's Comedy of Terrors (pages 289–298): Anthony Roche
Chapter 25 Awounded degree: Drama and global conflict I (pages 301–315): Mary Luckhurst
Chapter 26 Staging ‘The Holocaust’ in England (pages 316–328): John Lennard
Chapter 27 Troubling views: Northern eire, the ‘Troubles’ and Drama (pages 329–340): Helen Lojek
Chapter 28 On warfare: Charles Wood's army judgment of right and wrong (pages 341–357): sunrise Fowler and John Lennard
Chapter 29 Torture within the performs of Harold Pinter (pages 358–370): Mary Luckhurst
Chapter 30 Sarah Kane: from Terror to Trauma (pages 371–382): Steve Waters
Chapter 31 Theatre on account that 1968 (pages 385–397): David Pattie
Chapter 32 Lesbian and homosexual Theatre: All Queer at the West finish entrance (pages 398–408): John Deeney
Chapter 33 Edward Bond: Maker of Myths (pages 409–418): Michael Patterson
Chapter 34 John Mcgrath and renowned Political Theatre (pages 419–428): Maria DiCenzo
Chapter 35 David Hare and Political Playwriting: among the 3rd method and the everlasting approach (pages 429–440): John Deeney
Chapter 36 Left in entrance: David Edgar's Political Theatre (pages 441–453): John Bull
Chapter 37 Liz Lochhead: author and Re?Writer: tales, historic and smooth (pages 454–465): Jan McDonald
Chapter 38 ‘Spirits that experience turn into suggest and Broken’: Tom Murphy and the ‘Famine’ of recent eire (pages 466–475): Shaun Richards
Chapter 39 Caryl Churchill: Feeling worldwide (pages 476–487): Elin Diamond
Chapter forty Howard Barker and the Theatre of disaster (pages 488–498): Chris Megson
Chapter forty-one analyzing heritage within the performs of Brian Friel (pages 499–508): Lionel Pilkington
Chapter forty two Marina Carr: Violence and Destruction: Language, area and panorama (pages 509–518): Cathy Leeney
Chapter forty three Scrubbing up great? Tony Harrison's Stagings of the previous (pages 519–529): Richard Rowland
Chapter forty four The query of Multiculturalism: the performs of Roy Williams (pages 530–540): D. Keith Peacock
Chapter forty five Ed Thomas: Jazz photographs within the Gaps of Language (pages 541–550): David Ian Rabey
Chapter forty six Theatre and know-how (pages 551–562): Andy Lavender

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Extra info for A Companion to Modern British and Irish Drama 1880-2005

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London and New York: Routledge. Bennett, Susan (1992). Theatre Audiences: A Theory of Production and Reception. London and New York: Routledge. Flannery, Eo´in (2005). ). Third Text: Ireland Special Issue 19:5, 49–59. Freire, Paulo (1985). The Pedagogy of the Oppressed. London: Penguin. Grene, Nicholas (1999). The Politics of Irish Drama: Plays in Context from Boucicault to Friel. Cambridge: Cambridge University Press. ) (2005). Irish Theatre on Tour. Dublin: Carysfort Press. Kearney, Richard (1988).

London and New York: Canto. A Companion to Modern British and Irish Drama 1880–2005 Edited by Mary Luckhurst Copyright © 2006 by Blackwell Publishing Ltd, except for editorial material and organization © 2006 by Mary Luckhurst 2 Reinventing England Declan Kiberd If the idea of England was invented by Shakespeare in his Tudor historical cycle, it may well have been reinvented through the twentieth century in a variety of plays. Although versions of Shakespeare in cinematic form did much to establish components of the national culture during World War II, thereafter intellectuals became more and more suspicious of attempts to project a ‘national theme’.

Blunt saw no contradiction between his support for the Land League, which sought to expropriate landlords, and his own continuing prosperity as a landholding aristocrat in the south of England. He has been accused of misreading the political message of the Land League – but did he? After all, what followed the League’s campaigns was not the communitarianism of Davitt’s dream but a much more English kind of property-owning democracy. Anyway, whether Blunt’s interpretation was right or wrong is scarcely important now.

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